Textile Study Group

artists and tutors sharing ideas imagination and skills

I currently teach full time in the University sector. My teaching experience is varied and ranges from working with adult education groups, MA and BA textile design students and school pupils. Part of my teaching involves me with students training to teach textiles and art and design and my written research often reflects this interest in aspects of textile education.

Alongside my teaching commitment I have maintained an exhibition and workshop profile. I have exhibited nationally and in Japan, Cyprus and the USA. I have given workshops in both this country and abroad, working with other European Universities. A series of workshops for universities, adults, in-service teachers and school pupils has been based around aspects of landscape and machine embroidery.

As well as belonging to the Textile Study Group I am a member of DATA and NSEAD, the Embroiderers' Guild, The Design History Society, and a member and past Chair of the Textile Society. I am also a Companion of The Guild of St. George (Ruskin Society).

I have written ‘Creating Sketchbooks’ for embroiderers and textile artists and this has formed the basis of current workshops.

My current work investigates 'the culture of sewing' by seeking to relocate the idea of women as workers with the objects and tools of their trade. Dislocation often occurs for example in museums, where sewing machines are exhibited as inventions with other machines and are removed from the idea of industrial garment production or work in the home. Women have often used the most commonplace items to create things with individual meaning and beauty. Both (the women and the objects) are valued as 'Underrated Treasures' which forms the title of this series of explorations as well as the title of a specific piece of work. Most of the pieces have an almost hidden reference to the Suffragettes by including their colours in the piece.

The most recent piece of work in this series was 'Veiled Ladies'. It was worked as an installation at the Bankfield Museum in Halifax whose collections were used a starting point. The piece also attempts to make a point about mass production.

Kay Greenlees